The twelve essays in this edited collection examine the experience of reading, from the late medieval period to the twentieth century. Central to the theme of the book is the role of materiality: how the physical object – book, manuscript, libretto – affects the experience of the person reading it.

When poetry was printed, poets and their publishers could no longer take for granted that readers would have the necessary knowledge and skill to read it well. By making poems available to anyone who either had the means to a buy a book or knew someone who did, print publication radically expanded the early modern reading public. These new readers, publishers feared, might not buy or like the books. Worse, their misreadings could put the authors, the publishers, or the readers themselves at risk. Doubtful Readers: Print, Poetry, and the Reading Public in Early Modern England focuses on early modern publishers' efforts to identify and accommodate new readers of verse that had previously been restricted to particular social networks in manuscript. Focusing on the period between the maturing of the market for printed English literature in the 1590s and the emergence of the professional poet following the Restoration, this study shows that poetry was shaped by—and itself shaped—strong print publication traditions. By reading printed editions of poems by William Shakespeare, Aemilia Lanyer, John Donne, and others, this book shows how publishers negotiated genre, gender, social access, reputation, literary knowledge, and the value of English literature itself. It uses literary, historical, bibliographical, and quantitative evidence to show how publishers' strategies changed over time. Ultimately, Doubtful Readers argues that although—or perhaps because—publishers' interpretive and editorial efforts are often elided in studies of early modern poetry, their interventions have had an enduring impact on our canons, texts, and literary histories.

This electronic version has been made available under a Creative Commons (BY-NC-ND) open access license. This book traces affinities between digital and medieval media, exploring how reading functioned as a nexus for concerns about increasing literacy, audiences’ agency, literary culture and media formats from the late fourteenth to the early sixteenth centuries. Drawing on a wide range of texts, from well-known poems of Chaucer and Lydgate to wall texts, banqueting poems and devotional works written by and for women, Participatory reading argues that making readers work offered writers ways to shape their reputations and the futures of their productions. At the same time, the interactive reading practices they promoted enabled audiences to contribute to – and contest – writers’ burgeoning authority, making books and reading work for everyone.

Founded by Allen Lane in 1935, Penguin Books soon became the most read publisher in the United Kingdom and was synonymous with the British paperback. Making high quality reading cheaply available to millions, Penguin helped democratise reading. In so doing, Penguin played an important part in the cultural and intellectual life of the English speaking world. For this book, which has its origins in the successful international conference held at Bristol University in 2010 to mark 75 years of Penguin Books, recognised scholars from different fields examine various aspects of Penguin’s significance and achievement. David Cannadine and Simon Eliot offer wide historical perspectives of Penguin’s place and impact. Other scholars, including Alistair McCleery, Kimberley Reynolds, Andrew Sanders, Claire Squires, Susie Harries, Andrew Nash, Tom Boll and William John Lyons examine more particularised subjects. These range from the breaking of the Lady Chatterley ban to the visions of the future contained in Puffin Books; from Penguin Classics to the scholarly and commercial interests in publishers’ anniversaries; from the art and architectural histories of Nikolaus Pevsner to the art and design of Penguin covers; and from the translation of poetry to the transcription of the Dead Sea Scrolls. Together the essays depict much of what it was that made Penguin the most important British publishing house of the twentieth century.

An innovative study of books and reading that focuses on papermaking in the Renaissance In The Nature of the Page, Joshua Calhoun tells the story of handmade paper in Renaissance England and beyond. For most of the history of printing, paper was made primarily from recycled rags, so this is a story about using old clothes to tell new stories, about plants used to make clothes, and about plants that frustrated papermakers' best attempts to replace scarce natural resources with abundant ones. Because plants, like humans, are susceptible to the ravages of time, it is also a story of corruption and the hope that we can preserve the things we love from decay. Combining environmental and bibliographical research with deft literary analysis, Calhoun reveals how much we have left to discover in familiar texts. He describes the transformation of plant material into a sheet of paper, details how ecological availability or scarcity influenced literary output in the sixteenth and seventeenth centuries, and examines the impact of the various colors and qualities of paper on early modern reading practices. Through a discussion of sizing—the mixture used to coat the surface of paper so that ink would not blot into its fibers—he reveals a surprising textual interaction between animals and readers. He shows how we might read an indistinct stain on the page of an early modern book to better understand the mixed media surfaces on which readers, writers, and printers recorded and revised history. Lastly, Calhoun considers how early modern writers imagined paper decay and how modern scholars grapple with biodeterioration today. Exploring the poetic interplay between human ideas and the plant, animal, and mineral forms through which they are mediated, The Nature of the Page prompts readers to reconsider the role of the natural world in everything from old books to new smartphones.

Many of the heralded writers of the 20th century—including Ernest Hemingway, John Dos Passos, F. Scott Fitzgerald, and William Faulkner—first made their mark in the 1920s, while established authors like Willa Cather and Sinclair Lewis produced some of their most important works during this period. Classic novels such as The Sun Also Rises, The Great Gatsby, Elmer Gantry, and The Sound and the Fury not only mark prodigious advances in American fiction, they show us the wonder, the struggle, and the promise of the American dream. In Beyond Gatsby: How Fitzgerald, Hemingway, and Writers of the 1920s Shaped American Culture, Robert McParland looks at the key contributions of this fertile period in literature. Rather than provide a compendium of details about major American writers, this book explores the culture that created F. Scott Fitzgerald and his literary contemporaries. The source material ranges from the minutes of reading circles and critical commentary in periodicals to the archives of writers’ works—as well as the diaries, journals, and letters of common readers. This work reveals how the nation’s fiction stimulated conversations of shared images and stories among a growing reading public. Signifying a cultural shift in the aftermath of World War I, the collective works by these authors represent what many consider to be a golden age of American literature. By examining how these authors influenced the reading habits of a generation, Beyond Gatsby enables readers to gain a deeper comprehension of how literature shapes culture.

Since their discovery in 1945, the Nag Hammadi Codices have generated questions and scholarly debate as to their date and function. Paul Linjamaa contributes to the discussion by offering insights into previously uncharted aspects pertinent to the materiality of the manuscripts. He explores the practical implementation of the texts in their ancient setting through analyses of codicological aspects, paratextual elements, and scribal features. Linjamaa's research supports the hypothesis that the Nag Hammadi texts had their origins in Pachomian monasticism. He shows how Pachomian monks used the texts for textual edification, spiritual development and pedagogical practices. He also demonstrates that the texts were used for perfecting scribal and editorial practice, and that they were used as protective artefacts containing sacred symbols in the continuous monastic warfare against evil spirits. Linjamaa's application of new material methods provides clues to the origins and use of ancient texts, and challenges preconceptions about ancient orthodoxy. This title is also available as Open Access on Cambridge Core.